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DRAGON

Character for Dragon


Ry or Ryu = Japan; Lng or Long = China

ORIGIN = CHINA
Protector of Buddhist Law
Symbol of Imperial Power
Guardian of Eastern Direction
Controller of Rain & Tempests
Guardian of the Tide Jewels
Bringer of Wealth & Fortune
Magical Shape Shifter
ASSOCIATIONS
East, Spring, Blue / Green
Wood, Water, Yang Energy
Clouds, Rain, Storms
Messenger = Turtle
Seven Eastern Lunar Mansions

Dragons often adorn temple structures in Japan.


Dragon at Rytaku-ji Temple (Shizuoka)

Woodblock by Utagawa Kunisada II, 1860


See full image near bottom of page.

Member of the TENBU


Member of the HACHIBUSHUU
Member of the NAGA (Sanskrit)
One of FOUR CELESTIAL EMBLEMS
SPELLINGS FOR THE DRAGON
SANSKRIT, CHINESE, JAPANESE

Naga (Sanskrit for all serpentine


creatures, including the dragon)
Lng, Long (Chinese for dragon)
Qinglng or Qinglong
(Chinese = blue/green dragon)
Seiry, Seiryu (Jp. = blue/green
dragon)
Ry, Ryu, Ryuu or (Japanese)
Tatsu (Japanese)
Ry-, Ryu-o, Ryuu-ou , .
Dragon Kings (Japanese)
Ryjin, Ryujin, Ryuujin ,
(Japanese)
Yong (Korean)

Modern Brass Dragon, Price = $70


Details & buy options at our estore. View catalog.

DRAGON MYTHOLOGY. A mythological animal of Chinese origin, and a


member of the NAGA (Sanskrit) family of serpentine creatures who protect Buddhism.
Japan's dragon lore comes predominantly from China. Images of the reptilian dragon are
found throughout Asia, and the pictorial form most widely recognized today was
already prevalent in Chinese ink paintings in the Tang period (9th century AD). The
mortal enemy of the dragon is the Phoenix, as well as the bird-man creature known as
Karura. In contrast to Western mythology, Asian dragons are rarely depicted as
malevolent. Although fearsome and powerful, dragons are equally considered just,
benevolent, and the bringers of wealth and good fortune. The dragon is also considered
a shape shifter who can assume human form and mate with people.
Dragons figure importantly in folk beliefs throughout Asia,
and are dressed heavily in Buddhist garb. In India, the
birthplace of Buddhism around 500 BC, pre-Buddhist snake
or serpentine-like creatures known as the NAGA were
incorporated early on into Buddhist mythology. Described
as water spirits with human shapes wearing a crown of
serpents on their heads or as snake-like beings resembling clouds, the NAGA are
among the eight classes of deities who worship and protect the Historical Buddha. Even
before the Historical Buddha (Siddhartha, Guatama) attained enlightenment, the NAGA
King Mucilinda (Sanskrit) is said to have protected Siddhartha from wind and rain for
seven days. This motif is found often in Buddhist art from India, represented by images
of the Buddha sitting beneath Mucilindas hood and coils. (Above paragraph adapted
from book by M.W. De Visser.)
In China, however, dragon lore existed independently for centuries before the
introduction of Buddhism. Bronze and jade pieces from the Shang and Zhou dynasties
(16th - 9th centuries BC) depict dragon-like creatures. By at least the 2nd century BC,
images of the dragon are found painted frequently on tomb walls to dispel evil.
Buddhism was introduced to China sometime in the 1st and 2nd centuries AD. By the
9th century AD, the Chinese had incorporated the dragon into Buddhist thought and
iconography as a protector of the various Buddha and the Buddhist law. These traditions
were adopted by the Japanese (Buddhism did not arrive in Japan until the mid-6th
century AD). In both China and Japan, the character for "dragon" () is used often in
temple names, and dragon carvings adorn many temple structures. Most Japanese Zen
temples, moreover, have a dragon painted on the ceiling of their assembly halls. See
below photos.

Dragon, Ceiling Painting at Tenry-ji Temple , Kyoto. Rinzai Zen Sect. Tenry-ji is also a World Heritage Site.
This ceiling painting was first created in 1899, and restored in 1997. It measures about 18 meters across.
Drawn on Japanese paper attached to ceiling plates (tiles). Photo scanned from temple catalog.
Tenry translates directly as Heaven Dragon.

Close-up of above Tenry-ji ceiling painting

DRAGON SYMBOLISM - ORIGINS IN CHINA


FOUR GUARDIANS OF FOUR COMPASS DIRECTIONS

Click any image above to jump to that creature (takes you to another page).

In both Chinese and Japanese mythology, the dragon is one of Four Legendary
Creatures guarding the four cosmic directions (Red Bird - S, Dragon - E, Tortoise - N,
and the Tiger - W). The four, known as the Four Celestial Emblems, appear during
China's Warring States period (476 BC - 221 BC), and were frequently painted on the
walls of early Chinese and Korean tombs to ward off evil spirits. The Dragon is the
Guardian of the East, and is identified with the season spring, the color green/blue, the
element wood (sometimes also water), the virtue propriety, the Yang male energy;
supports and maintains the country (controls rain, symbol of the Emperor's power). The
Guardian of the South, the Red Bird (aka Suzaku, H-, Phoenix), is the enemy of the
dragon, as is the bird-man Karura. Actually, the Phoenix is the mythological enemy of
all Naga, a Sanskrit term covering all types of serpentine creatures, including snakes
and dragons. The Dragon (East) and Phoenix (South) both represent Yang energy, but
they are often depicted as enemies, for the Dragon represents the element wood, while
the Phoenix signifies the element fire. However, they're also often depicted together in
artwork as partners. The Dragon is the male counterpart to the female Phoenix, and
together they symbolize both conflict and wedded bliss -- the emperor (dragon) and the
empress (phoenix). For many more details, see the Phoenix page and Four Guardians of
the Compass page.

Excerpt from "Myths & Legends of Japan"


by F. Hadland Davis.
The Dragon has the head of a camel, horns or a deer,
eyes of a hare, scales of a carp, paws of a tiger, and
claws resembling those of an eagle. In addition it has
whiskers, a bright jewel under its chin, and a measure
on the top of its head which enables it to ascend to
Heaven at will. This is merely a general description
and does not apply to all dragons, some of which
have heads of so extraordinary a kind that they
Dragon water fountain
cannot be compared with anything in the animal
at Rytakuji Temple
kingdom. The breath of the Dragon changes into
clouds from which come either rain or fire. It is able to expand or contract its body, and
in addition it has the power of transformation and invisibility. The ancient Chinese
Emperor Yao was said to be the son of a dragon, and many rulers of that country were
metaphorically referred to as dragon-faced." <end excerpt by Hadland>.

TYPES OF DRAGONS
In both Chinese and Japanese mythology, the dragon is closely associated with the
watery realm, and in artwork is often surrounded by water or clouds. In myth, there are
four dragon kings who rule over the four seas (which in the old Chinese conception

limited the habitable earth). In China, a fifth category of dragon was added to these four,
for a total of five dragon types:
1.
2.
3.
4.
5.

Celestial Dragons who guard the mansions of the gods


Spiritual Dragons who rule wind & rain but can also cause flooding
Earth Dragons who cleanse the rivers & deepen the oceans
Treasure-Guarding Dragons who protect precious metals & stones
Imperial Dragons; dragons with five claws instead of the usual four

NUMBER OF CLAWS
Five, Four, Three Claws
According to most sources, the dragon of China and Japan
resemble each other, with the exception that the Japanese
dragon has only three claws, while that of the Celestial
Kingdom (China) has five.

www.khandro.net
Much has been made of these distinguishing characteristics
among Asian dragons. There is an iconographic convention
in which the common dragon has only four claws. The fiveclawed dragon, in contrast, is reserved for the Chinese
imperial family, while the colonial type (such as the
Japanese dragon) has only three claws.

Five-clawed dragon at
Kench-ji Temple (Kamakura, Japan)
See above for details.
Painted in the 1990s.
Here, Japanese dragon
iconographcy does not
abide with traditional
Chinese notions about
the number of claws.

Another View of Claws, From Wikipedia


Chinese or Korean imperial dragons have five toes on each
foot; Indonesian dragons have four and Japanese dragons
have three. To explain this phenomenon, Chinese legend
states that although dragons originated in China, the further away from China a dragon went the
fewer toes it had, and dragons only exist in China, Korea, Indonesia, and Japan because if they
travelled further they would have no toes to continue. Japanese legend has an opposing story,
namely that dragons originated in Japan, and the further they traveled the more toes they grew
and as a result, if they went too far they would have too many toes to continue to walk properly.
These theories are rejected in Korea and Indonesia. Another interpretation: according to several
sources, including official documents from earlier times, ordinary Chinese dragons had four toes
-- but the Imperial Dragon had five. It was a capital offense for anyone other than the emperor to
use the five-clawed dragon motif. Korean sources seem to disagree (or perhaps agree) with this
theory, as the Imperial dragon in Gyeongbok Palace has seven claws, implying its superiority
over the Chinese Dragon. Of course, this dragon image is hidden in the rafters of the palace
and not entirely in view, even to those who know it is there, suggesting that while the ancient
Koreans viewed it as superior, they also knew that it would be offensive to the Imperial Chinese
Court.

Unry, Cloud Dragon. Ceiling Painting, Late 1990s, Kench-ji Temple, Kamakura
Painted by artist Koizumi Junsaku on 48 panels. Took about three years to create, and measures
approx. 10 meters by 12 meters in size. Photo Courtesy Kenchji Web Site.

Close-up of above Kench-ji Temple ceiling painting.


Founded in 1251, this temple was the chief monastery for the five great Zen monasteries that thrived in the
Kamakura era (1185-1333). It became the center of Zen Buddhism thanks to strong state patronage,
and was home to the first landscape garden laid out in the Zen style. However, unlike many other Zen temples
in Japan, Kench-ji never had its own dragon painted on the ceiling of its assembly hall. This painting was
commissioned to celebrate the 750th anniversary of the temples founding, and was unveiled in a public
viewing in May & June 2003. This photo is from the events promotional poster.

COLOR OF DRAGON ROBES


A yellow dragon is said to have presented the Chinese with a scroll inscribed with
mystic characters, and this tradition is said to be the legendary origin of the Chinese
system of writing. In China, yellow dragon robes are reserved for the Emporer and his
family. The dragon is also used as a symbol for the Chinese Emperor, the Son of
Heaven. In earlier times, the color of a dragon robe reflected the rank of its wearer.
Yellow for the Emperor and Empress, apricot for the Crown Prince, and golden yellow
for the emperors other wives.

DRAGON SYMBOLISM
DRAGON MOTIFS ON IMPERIAL ROBES
SEE STORIES BY KYOTO NATIONAL MUSEUM

Aristocrat's robe with dragon motifs. China, Qing Dynasty, 17 century


Photo courtesy metmuseum.org. Met Museum Dragon Robe #1 | Met Museum Dragon Robe #2

DRAGON LORE FROM JAPAN


Origin of Dragons Japanese Name
In Japanese mythology, the Dragon King's Palace (Ryg ) is
said to be located at the bottom of the sea, near the Ryk (Ryukyu)
Islands (Okinawa), and it belongs to Ryjin (Ryujin) , the
Japanese name for the dragon king. The palace is also known as the
Evergreen Land. In his book Japanese Poetry, Professor B. H.
Chamberlain says the Japanese word for Dragon Palace (Ryg) is
likewise the Japanese pronunciation of the southernmost Ryk
islands. He writes about one ode in the Man'ysh (Japan's
oldest anthology of verse compiled in the 8th century), which says
the orange was first brought to Japan from the Evergreen Land
lying to the south. The many-storied palace is built from red and
white coral, guarded by dragons, and full of treasure, especially the
Tide Jewels, which control the ebb and flow of tidal waters. Fish and
other sea life serve Ryjin as vassals, with the turtle acting as the
dragons main messenger. On the north side of the palace there is
the Winter Hall, where snow falls all the time. On the eastern side
lies the Hall of Spring where butterflies visit cherry blossoms while
the nightingale sings. On the southern side of the palace is the
Summer Hall where crickets chirp in the warm evening. Finally, on
the western side is the Autumn Hall where the maple trees glow in
bright colors. For a human, a day in this palace is like 100 years on
earth.

Ry- (Dragon King)


Sanskrit = Naga-Raja
7th Century
Hry-ji Temple

DRAGON LORE FROM JAPAN


Origin of Japans First Emperor, Tale of Hri.
Tale of Hri (Hori, Houri, Hoori). Long ago, the Dragon Kings
daughter Toyotama-hime (Princess Rich Jewel) married a
hunter named Hri no Mikoto (also known as
Ry
Yamasachibiko ), who lived with her for three years in her
underwater kingdom. Lonely for the site of his own country, however,
Hri returned to the upper world, but not before discovering that Toyotama was with child. The
son she bore him later sired four children, one of whom was Kamuyamato Iwarebiko
, the first human emperor of Japan, who is now known as Jinmu Tenn . Incidentally,
Hri himself was the child of Ninigi (Rice Ear Ruddy Plenty) and Konohana Sakuya
Hime . Ninigi was the grandson of sun goddess Amaterasu (Japans supreme
Shint deity). Hri and his children thus trace their line back to Japans earliest gods and
goddesses. For an extended version of the Hri tale, which includes many older Shint names
for the various deities involved, please click here. This site also offers the tales of Toyotama and
of Ninigi, plus a family tree of the ancient gods and goddesses of Japan.

DRAGON LORE FROM JAPAN


The Dragon, Enoshima Island, and Goddess Benzaiten
Below text courtesy of "Myths and Legends of Japan" by F. Hadland Davis, first
published in 1913. Near Kamakura in a certain cave there lived a formidable dragon,
which devoured the children of the village of Koshigoe . In the 6th century AD,
Benzaiten (the Buddhist goddess of the sea, rivers, music, poetry, learning, and art) was
determined to put a stop to this monster's unseemly behavior, and having caused a great

earthquake she hovered in the clouds over the cave where the dread dragon had taken up
his abode. Benzaiten then descended from the clouds, entered the cavern, married the
dragon, and was thus able, through her good influence, to put an end to the slaughter of
little children. With the coming of Benzaiten there arose from the sea the famous island
of Enoshima (near Kamakura), which has remained to this day sacred to Benzaiten, the
Goddess of the Sea. <end Hadland quote> This story first appeared in the Enoshima
Engi , written in 1047 AD by Japanese Buddhist monk Kokei (977?1049). The link between Benzaiten and the dragon is not surprising, as Benzaitens
messenger is a snake, and the dragon is classified as a type of serpent (known in
Sanskrit as the Naga). This legend has variations. According to Wikiipedia: The
goddess rejected the dragon's proposal and made it understand that it (the dragon) had
been doing wrong by plaguing the villagers. Ashamed, the dragon promised to cease its
wrong-doing. It then faced south (devotedly facing the island where Benzaiten lived)
and changed into a hill. To this day, the hill is known as Dragon's Mouth Hill (Tatsu-nokuchi yama ). <end quote>

DRAGON LORE FROM JAPAN


Hj Clan (Regents of Kamakura),
Hj Family Crest & the Dragon
According to legend, Tokimasa Hj (1138-1215), the
first Hj regent of the Kamakura shgunate, visited a cave on
Enoshima Island (near Kamakura). He prayed to the dragon living
in the cave to grant prosperity to the Hj clan. The wish was
granted, and even today a statue of the dragon is enshrined within
the cave. As a token of this promise, the dragon left behind three
scales, which are reportedly the origin of the three triangles of the
Hj family crest, known as the Mitsu Uroko (three scales).

Mitsu Uroko
Hj Family Crest

DRAGON LORE FROM JAPAN


Rain from Ryjin (Rain from the Dragon King). In both China and Japan, the dragon
is associated closely with rain, storms, and clouds, and it is the dragon who produces
rain. In the Heian Period (794-1185), two Buddhist temples -- Tji (East Temple) and
Sai-ji (West Temple) -- shared control of Japans religious world, and an interesting
legend grew out of the power struggle between the two temples. Envious of Kkai
(774-835), for his fame as head of Tji Temple, a priest named Shubin of Sai-ji
Temple used a charm to entrap Ryjin in a jar, thereby causing an extensive drought.
Challenged by Shubin to a contest at Shinsen Garden, Kkai dispelled the curse of
Shubin, and set the Ryjin free to cause rain to fall.

DRAGON LORE FROM JAPAN


Tale of Urashima
Once there was a young fisherman named Urashima
, who caught a tortoise in his nets. But as tortoises
are said to live thousands of years, Urashima thought it
best to set the creature free. Little did he know, but this
turtle was Otohime , the dragon king's daughter, in disguise. (Note: In Japanese
mythology, the turtle is the messenger of the dragon.) The turtle-princess invited the
young man to her father's court where she appeared to him in the shape of a beautiful
women, and married him. After three days, Urashima felt a strong desire to visit his
aging parents. But when he returned to his land, he discovered that 300 years had passed
(one day in the dragon kingdom represents 100 years for humans). Since all his loved
ones had long since departed, Urashima was stricken with grief, and desired to return to
this dragon wife. Not knowing how to return to the dragon palace, Urashima opened the
magic box (Tamate Bako , or Box of the Jewel Hand) his wife had given him as
a keepsake of their love. But she had told him never to open the box. When he opened
the box, hoping to find a way back to her, he immediately lost his youth, became old
and wrinkled, and fell dead upon the ground.

DRAGON LORE FROM JAPAN


Tale of Tide Jewels & Empress Jing
Ryjin (dragon deities) control the tidal flows with the magical Tide Jewels (the Flood
Tide Jewel and the Ebb Tide Jewel). Long ago the Empress Jingu planned an
invasion of Korea. She prayed to Ryjin and sent Isora (the Spirit of the Seashore) to
the dragon kings temple to request the Tide Jewels. There he was given the Tide Jewels
to present to the empress. With the magic jewels in hand, the empress set sail with her
fleet to Korea. When she saw the Korean fleet sail out to confront them, she quickly
threw the Low Tide Jewel into the sea, and the tide receded immediately, beaching the
Korean fleet. As the Koreans jumped out of their vessels onto the mudflats, the empress
threw the High Tide Jewel into the water and a tidal wave came along, drowning all the
Korean fighters. The Japanese fleet was carried by the tital wave to the Korean coast,
into the harbor, and to victory. Later on, after Empress Jings son has grown into a fair
and wise boy, legend says that Ryjin personally presented the little prince (Prince jin
) with the Tide Jewels.

DRAGON LORE FROM JAPAN


God of Fire Fighters -- Dragon Tattoos
http://208.55.77.56/alterasian/arttattooirezumi4.html
Perhaps the most ubiquitous of all Japanese mythological beasts tattooed in the West is
the dragon. Dragons are clearly very alluring creatures, and it is as common to see a
tattoo of a dragon in Britain as it is in Japan. Because the dragon can live in both air and
water, it is believed to offer protection from fire. For this reason it was often chosen by
Edo-period fire fighters who tattooed themselves superstitiously for protection in their
work. For photos of many dragon tattoos, please click here (outside site).

DRAGON LORE FROM CHINA


The Carp Who Became a Dragon
The carp (Jp. = Koi ) transforming into a dragon
is a common artistic theme from old China. This
theme is based on a Chinese legend (Jp. = Koi-noTakinobori ) wherein carp swim, against
all odds, up a waterfall known as the Dragon
Gate at the headwaters of Chinas Yellow River.
The gods are very impressed by the feat, and
reward the few successful carp by turning them
into powerful dragons. The story symbolizes the
virtues of courage, effort, and perseverance, which
correspond to the nearly impossible struggle of
humans to attain Buddhahood. In modern Japan,
temples and shrines commonly stock their garden
ponds with carp, which grow to enormous sizes in
a variety of colors. Says JAANUS: Koi-noTakinobori is the Japanese name for a Chinese
legend of a carp that became a dragon after
swimming up a waterfall at the headwaters of the
Yellow River. This auspicious theme, a parable of
effort and success, is linked to the Japanese Boys Censer of leaping carp transforming into dragon. Unknown
Day Festival (5th day of fifth month) when carp
artist. China 17th century, Ming Dynasty. Photo Courtesy
Phoenix Art Museum.
streamers (koinobori ) are displayed. The
See Shachihoko page for related story.
theme was depicted in Edo period art, as for
example in the painting by Maruyama Oukyo (1733-95; Daijouji , Hyogo) or
prints by ukiyo-e artists. <end JAANUS quote>

Dragon Star Constellation


From "Encyclopedia of Myth and Legend:
Chinese Mythology" by Derek Walters
In complete contrast to Western mythology, however, dragons are
rarely depicted as malevolent. They may be fearsome and very
powerful, and all stand in awe of the dragon-kings, but they are
equally considered just, benevolent, and the bringers of wealth and
good fortune. There are, of course, legends of the various immortals
battling against evil dragons, but such monsters would be foreign
ones. Local dragons are to be respected, feared, and petitioned as one
would petition a just and honest ruler. For this reason, the dragon
symbol is the sign of authority, being worn on the robes of the
Imperial family and nobility.
Dragons are generally considered to be aquatic, living in lakes, rivers
and the sea, the larger the expanse of water, the more powerful the
dragon. Nevertheless, there are dragons which inhabit the heavens,
one quarter of the sky being called the Palace of the Green Dragon, in
reference to the stars which in Chinese astronomy constitute the
Constellation of the Dragon. Even so, the appearance of the Dragon
constellation is said to herald the rainy season (end quote from Walters).

28 Moon Lodges, 28 Lunar Mansions


An ancient astrological grouping from India and China that refers to 27 or 28 points that
the moon passes through in one month and the associated star constellations found in
the cosmic background. Each of these points (constellations) is associated with a deity.
The 28 are divided into four clusters, with each cluster made up of seven constellations.
The four clusters represent the four cardinal directions (north, south, east, west). Each
cluster is associated with one of Four Celestial Emblems (turtle, red bird, dragon, white
tiger), a Buddhist guardian deity (the Four Heavenly Kings), a season, a color, and
numerous other attributes. See 28 Moon Lodges page for full details.
EAST
Seven Lunar Mansions of the Blue-Green Dragon
(Two Common Japanese Groupings for Seven Eastern Moon Lodges)

SEIRYUU (Dragon)
East, Blue-Green
Spring, Wood
GROUPING ONE - CHINA, JAPAN
Chinese | Sanskrit Names
Eastern Moon Lodges
Source: Shukuy-ky

GROUPING TWO - JAPAN


Deities in GENZU MANDALA

Shingon/Tendai Deities (Celestial Females)


Jp. Reading | Chinese | (Sanskrit) | Deity Name

1 Kakushuku Citr

1 Bshuku (Krttika)

2 Kshuku Niy (or Svti)

2 Hisshuku (Rohini)

3 Teishuku Vikh

3 Shishuku (Mrgasiras)

4 Bshuku Anurdh

4 Sanshuku (Ardra)

5 Shinshuku Rohi, Jyehaghn

5 Seishuku (Punarvasu)

6 Bishuku Mlabarha (or Mla)

6 Kishuku (Pusya)

7 Kishuku Prva-Adha

7 Ryshuku (Aslesa)

DRAGONS BUDDHIST COUNTERPART = JIKOKUTEN


Star Chart by Steve Renshaw & Saori Ihara
KEY TO BELOW LIST (corresponds to left column above)
Chinese | Meaning | Jp. Star Reading | Sanskrit Spelling | (Western Constellation

1. , Horns (perhaps Angle, Corner), Su Boshi, Citr (Alpha Vir, Spica)


2. , Neck, Throat, Ami Boshi, Niy or Svti (Kappa Vir, Virgo)
3. , Root or Shoulder, Tomo Boshi, Vikh) (Iota Lib, Alpha Lib, Libra)
4. , Chamber or Breasts, Soi Boshi, Anurdh (Delto Sco, Pi Scho, Libra)
5. , Heart, Nakago Boshi, Rohi or Jyehaghn or Jyeh (Sigma Sco, Antares)
6. , Tail, Ashitare Boshi, Mlabarha or Mla (Mu Sco, Scorpius)
7. , Basket, Mi Boshi, Prva-Adh (Gamma Sgr, Eta Sgr, Sagittrius)

DRACO LORE
More on Dragon Star Constellation. Text courtesy Khandro.net. Around 1,800 BC,
the celestial indicator (the pole star) was not the modern-day North Star (Polaris), but
rather Thuban, a star in the constellation known as Draco or Dragon. Draco is the 8th
largest of the conventional constellations curving from the "pointers" of the Dipper
(Ursa Minor) to brilliant Vega. To the observer of today, there is no bright star in the
configuration. Yet, the passages in the great pyramid at Gizeh (Egypt) once acted as
channels for the light of the star that is called Thuban. It is now known that those
pyramids were oriented to Orion and, at the time of the building of the Sphinx, to Leo.
It has been demonstrated that Angkor Wat, the great Khmer (Cambodian) Buddhist
shrine was built in alignment with this celestial formation. However, in 1,150 CE the
constellation of the Dragon was upside down over the site's medieval buildings, but
impressively, in the era of 10,500 BC, traces of the very earliest structures there
mirrored the Dragon constellation exactly.
The transition from one ruling celestial system to another is marked in the mythologies
of the world by accounts of the overthrow of Titans (Greek) or Ashuras (Indian) by
Gods or Devas. Naturally, this displacement had to be justified, and so the serpentine
heavenly Mother, Tiamat of the early Mesopotamians, is considered by devotees of the
newer deity, Marduk, as an evil draconian monster.

The flying dragon whose abode is the heavens is universally recognized as a symbol of
the Chinese culture and its people. Chinese refer to themselves as Descendents of the
Dragon.
It is believed that on rare occasions dragons have the power to transform themselves
into handsome humans who, male or female, can mate with people. For example,
former Japanese Emperor Hirohito claimed descent from Princess Fruitful Jewel,
daughter of a sea Dragon King. It is this belief that lies at the root of the dragon, which
is often used in Asia as the crest or emblem of a royal house.

HACHIDAI RYUU-OU
EIGHT GREAT DRAGON KINGS IN BUDDHIST LORE
Hachidai Ryuu-ou (Eight Great Dragon Kings) are mentioned in the Lotus Sutra
(HOKEKYOU ) and they appear sometimes in Japanese artwork. These eight
are dragon kings said to live at the bottom of the sea, apparently in reference to the eight
dragon kings, each with many followers, who assembled at Eagle Peak to hear the Lotus
Sutra as expounded by the Historical Buddha. According to the Kairyuo Sutra (Sutra of the
Dragon King of the Sea), dragons are often eaten by giant man-birds called Garudas, their
natural enemy. The Phoenix is another enemy of the dragon. Nanda Ryuuou, who is one
member of the Hachidai group, can sometimes represent the whole set, as he does in the
Hokke Mandala .

Dragon, Wood Carving on Gate


at Engakuji Temple in Kita-Kamakura

NOTE: The below text comes from the wonderful research of the Japanese
Architecture & Art Net User System (JAANUS). A visit to their online
dictionary is highly recommended. Over 8000 entries. Below text reproduced
with their permission. Thank you JAANUS. The photos presented below,
however, are not from JAANUS, but rather from my own photos and web crawling.

Dragon Mythology
Jp. = Ry, Ryu, or Ryuu ; Also written ; Chn. = Lng or Long
Mythological animal and cosmological symbol of Chinese origin. The beginnings of
dragon myths are obscure, but belief in such a creature predates written history. The
image of the reptilian dragon as known today throughout East Asia had achieved its
form by the 9th century Tang ink painting. Typically the dragon is covered with scales,
has a long serpentine body with a scalloped dorsal fin, claw-like feet and pointed tail. Its
face is distinguished by small horns, large eyes with bushy brows, flaring nostrils, long
whiskers and sharp teeth. The dragon is associated with water, and is often shown
emerging from vapor and clouds to produce rain. Living in the sky it is considered
closely related to heaven, and from early times was used as a symbol of imperial power.
In addition to serving as a deity of rain and of Heaven, the blue-green dragon (seiryuu
) is the directional symbol of the east, and thus one of the guardian animals of the four
directions (shishin ). Dragons figure importantly in popular folk beliefs and Taoism,
often serving as a vehicle for immortals. By the 9th century, the Chinese had
incorporated the dragon into Buddhist thought and iconography as a protector of the
various Buddha and the Buddhist law. For example, the character for dragon is often
found in temple names. The earliest representations of dragon-like creatures are Shang
and Zhou period (ca. 16th - 9th centuries BCE) bronzes and jades bearing abstract
animal or monster designs. By the Warring States or Han period (ca. 8th century BC to
3rd century AD), dragons were frequently painted on tomb walls to ward off evil spirits.
Beginning in the late Tang period (9th century), the dragon was painted in ink
monochrome (suibokuga ). The so-called "Nine Dragons Hand Scroll"
(Kyuuryuuzukan , 1244, Museum of Fine Arts, Boston) by Chen Rong
(Jp: Chin You, act. 1235-58) exemplifies ink painting of the subject in the Song period.

Nine Dragons Hand Scroll (Detail) - ()


Chinese, Southern Song dynasty, dated 1244
Chen Rong, Chinese, first half of the 13th century
Photo courtesy Museum of Fine Arts, Boston

Large-scale dragon compositions came to be painted on the walls of imperial buildings


and of temples. In painting for the Zen sects, especially, depictions of dragons and
tigers (ryuuko-zu ) were frequently paired. The famous ink paintings by Muqi
(Jp: Mokkei, late 13th century) at Daitokuji , Kyoto, served as the model for
countless later Japanese painted versions. Dragons came to Japan much before ink
painting. Examples are found in handscrolls, such as "Charicatures of Animals"
Choujuugiga and Kegon Engi .
In Buddhist painting a dragon appears as the crown of the Dragon King (Ry- or

, one of the Hachibushuu ). Japanese dragon painting reached its apogee in


the late 16c-early 17c paintings by Kanou and Kaihou artists (Kanouha ,
Kaihouha ). It is often suggested that these dragon paintings were intended as
symbols of heroic leadership because the dragon calling forth rain is a metaphor for the
enlightened ruler seeking able ministers.

Dragon Painting
by Kano Tsunenobu (Kanou School)
16th - 17th Century; Photo courtesy of:
www.honmonji.or.jp/05topic/06info/reihoden/kanou/tokubetutenji.html

DRAGIN KINGS, Ry- or


Text courtesy JAANUS. Pre-Buddhist snake or dragon deities (Skt = naga), which were
later adopted into stories of the Buddha's life and into texts honoring the Buddha and
propagating his teachings, are also called ryuu-ou . They live in water and have the
power to control rain. In stories ryuu demand Buddhist treasures, especially relics,
sometimes in exchange for quelling storms. In their kingdoms beneath the sea they
guard treasures, such as jewels and Buddhist texts. Particularly when termed Dragon
Kings (ryuuou), they may appear independently in paintings, or they may be shown in
groups or as attendants to Buddhist deities. When water is shown in a Buddhist
painting, there will often be a dragon in it. Ryuu appear in the Shougyou Mandara
, which was used in esoteric rituals for making rain. Individual ryuu include:
Nanda , Bananda (or Batsunanda) , Sakara (or Shagara) , Manasu
(or Manashi), and Zennyo . There is also a group of eight dragons, the
hachidai ryuuou , who are mentioned in the Lotus Sutra (HOKEKYOU
) and also appear in art. Nanda Ryuuou, who is one of this set, may represent the
whole, as he does in the Hokke Mandara . The ryuuou may be shown
entirely as dragons, as humans with snake's tails, or as humans (usually in Chinese

dress) with dragons or snake hoods or some other indication of identity. If multiple
heads are shown, they may indicate the identity of the ryuu. Illustrations of the Lotus
Sutra may show the Dragon Princess, who, in the Devadatta chapter, achieves
enlightenment. Famous images of ryuuou include that of Zennyo Ryuuou of
Kongoubuji , Wakayama prefecture, painted by Jouchi in 1145, and that
of Nanda Ryuuou (as a honjibutsu of the deity of Kasuga Taisha
) of Hasedera , Nara, carved by Shunkei in 1316.

Ry-, Ryou-ou

Text courtesy JAANUS. A type of bugaku mask


(bugakumen ). Also called Raryouou ,
Ranryouou (King Lanling), and Ryuuou
(Dragon King). A bugaku dance and the mask
(bugakumen ) of a golden beast with a dragon
perched on its head. Classification (for terms see
bugaku ): a dynamic dance (hashirimai ) of
the Left (sa-no-mai ) originally from either
Southeast Asia (Rin'yuugaku ) or China
(Tougaku ) performed by one person dressed in a
fringed tunic and pantaloons (ryoutou shouzoku
). According to some the dance celebrates the victory
of Prince Lanling (also known as Changgung of
Ry- (Dragon King) Mask.
Pohai (Manchuria) over the Zhou. Legends vary
Wood, H = 33.3 cm. 13th Century. Tsurugaoka
but either the handsome and kind prince donned the
Hachimang
gruesome Ryouou mask himself and frightened his
in Kamakura. Photo Source.
enemy into submission, or his father's ghost appeared
wearing the mask. Others trace the dance back to Indian
sources, either to the play NAGANANDA (Joy of the
Serpents) or to images of Eight Dragon Kings (Hachidai
ryuuou ), especially Shagara (Jp:
Sakara). Following this tradition, folk festivals in Japan
since the 13 century often incorporate the dance of
Ryouou as a rain prayer, for dragons are associated with
water and the east. This last function may account, in
part, for the great popularity of the dance; which dates
back to at least to the Heian period. The sharp nose,
bulging, rotating eyes (dougan ) and gaping mouth
with huge teeth and dangling chin (tsuriago ) are
given a concentrated aggressive intensity by the
wrinkles that line the face and the carved strands of
heavy hair above the forehead. The gold face and
metallic eyes are set off by the green hair and
vermillion mouth. Tuffs of animal hair suggestive of
eyebrows and moustache add an uncanny realism. On
top perches a crouching dragon. The dragons on top are
of two kinds. Some, like the one on the late 12c Ryouou
Ranry- Mask.
Wood Modern. Photo Source.
at Itsukushima Jinja appear as separate
figures seated on the head, with chest raised and limbs
distinct. Many of these were carved separately and then attached to the mask. Other
dragons, such as the one on the 13c Ryouou at Tsurugaoka Hachimanguu
in Kamakura form an integral part of the mask, like an elaborate crown that is carved
simultaneously with the face out of the same block. A dry lacquer (kanshitsu )
Ryouou at Fujita Art Museum in Osaka may well be the only 8c bugaku mask
preserved today. Although damaged, it still retains the flavor of (8c) sculpture. Many of
the 64 extant old Ryouou masks are preserved in the countryside and were made after
the 13c for folk festivals. Most have simplified constructions (eg. no movable eyes) or
carving. Some show a patternization and distortion of the original model (Tendaiji

, Iwate prefecture; Hakusan Jinja , Niigata prefecture), while some have


added elaborations such as sharp teeth set into the dangling chin (Ooboshi Jinja
, Aomori prefecture) and metallic embellishments on the dragon (Tesshuuji ,
Shizuoka prefecture). <END JAANUS QUOTES>

Kurikara
Text courtesy JAANUS. Also known as Kurika , a transliteration of
Sanskrit Kulika, the name of a dragon-king (see above) mentioned in Indian
legends. In this connection he is also known as Kurikara Ryuu
("Dragon Kurikara"), sometimes with the addition of ou , to read "Dragon King
Kurikara." Kurikara could also be an abbreviated transliteration of Kulika raja
("King Kulika"), or of Kulika-nagaraja ("Dragon King Kulika").
In Esoteric Buddhism he is regarded as a manifestation of Fudou
Myou-ou and is also known as Kurikara Fudou
or Kurikara Myou-ou . He assumes the form
of a flame-wreathed snake or dragon coiled around an upright
sword, with his open mouth about to swallow the tip of the
weapon, which is called the "Kurikara sword" (kurikara-ken
). According to the KURIKARA RYUU DARANIKYOU
, this manifestation of Fudou had its origins in
a contest between Fudou and a non-Buddhist heretic in the course of which
Fudou transformed himself first into a sword and then into the dragon Kurikara
and threatened to devour the sword into which the heretic had changed himself.
Alternatively the dragon and sword are sometimes said to represent the noose
and sword held by Fudou and images of Kurikara may be used as a substitute
for Fudou as for example on the lid of a lacquered sutura box from the Heian
period belonging to Taimadera (Nara Prefecture), where he is flanked by
Fudou's two attendants Kongara Douji and Seitaka Douji
. Early statuary representations are rare: that kept at Ryuukouin (Mt.
Kouya , Wakayama prefecture) inside a small shrine (zushi ) is thought
to date from the Kamakura period, although temple tradition holds that the
sword (42.2cm) was brought back to Japan by Kuukai (774-835 AD). The
largest completely wooden image (183.2cm), dating from the late Heian period
(11c-12c), is kept at Kotakeji , Ooita prefecture. The "Kurikara pattern"
(kurikara-monmon ) is also a popular motif in tattoos (irezumi
). For more on Kurikara Fudou, please see Dr. Gabi Greves sites, one and
two.

Woodblock by Utagawa Kunisada II, 1860


Courtesy of Ukiyo-eWoodblockPrints.com

LEARN MORE

Buddhist-Artwork.com.
Dragon statues are available for purchase at our sister site.

Dragon: One of Four Celestial Emblems of Ancient China

Shachihoko, Naga, Makara, Makatsu. Serpentine-like sea monster related to the


dragon.

28 Lunar Mansions and the Dragon

Dragon in Taiwan

View Star Charts of the Dragon Constellation

JAANUS. Dragon Origins in China. A special thanks to JAANUS, the Japanese


Architecture & Art Net User System, for allowing me to quote above text. A
visit to their online dictionary is highly recommended. Over 8000 entries. The

(outside site)

photos presented here, however, are not from JAANUS, but rather from my own
photos and web crawling.

A Dictionary of Chinese Buddhist Terms. With Sanskrit & English Equivalents.


Plus Sanskrit-Pali Index. By William Edward Soothill & Lewis Hodous.
Hardcover, 530 pages. Published by Munshirm Manoharlal. Reprinted March
31, 2005. ISBN 8121511453.

Ghosts, Demons & Spirits in Japan (by Norman A. Rubin)

Dragons in Art and on the Web (by Tim Spalding). Hundreds of links and
photos.

Dragon Calligraphy by Yamaoka Tesshu (hosted by Gabi Greve)

Myths and Legends of Japan. Author Frederick Hadland Davis. Courier Dover
Publications. 1912 (Republished 1992). ISBN 0486270459, 9780486270456

Animal Motifs in Asian Art: An Illustrated Guide to Their Meanings and Aesthetics.
Author Katherine M. Ball. Courier Dover Publications, 2004. (First published 1927)

An Encyclopedia of Myth and Legend: Chinese Mythology. Author Derek Walters. 1993.

Myths of China and Japan. Author Donald A. Mackenzie. 2005.


Butsuz-zu-i , the Collected Illustrations of Buddhist Images. Published in
1783 (Genroku 3). One of Japans first major studies of Buddhist iconography.
Hundreds of pages and drawings, with deities classified into approximately 80 (eighty)
categories. Modern-day reprints are available at this online store (J-site).

A History of Japanese Religion. Edited by Kazuo Kasahara. Kosei Publishing


Company, 2002. Translated by Paul McCarthy and Gaynor Sekimori. 648 pages.
Sixteen distinguished experts on Japanese religion approach the topic from
modern perspectives. Topics range from prehistoric times up until the early
postwar years. Click here to read review of book by scholar Paul L. Swanson.

Buddhism: Flammarion Iconographic Guides,

UNCONFIRMED RESEARCH. Hoshi-no-tama (star ball). In Japanese artwork,


dragons are sometimes depicted with a pearl or ball under its chin. Those who
obtain it can force the dragon to help them. One theory says that the dragon
"reserves" some of its magic in this ball when it shape shifts.

by Louis Frederic, Printed in France,


ISBN 2-08013-558-9, First published 1995. A highly illustrated volume, with
special significance to those studying Japanese Buddhist iconography. Includes
many of the myths and legends of mainland Asia as well, but its special strength
is in its coverage of the Japanese tradition. Hundreds of accompanying
images/photos, both B&W and color. A useful addition to your research
bookshelf.

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